A  Story in Stone

A Place of Private Prayer

The Lady Chapel

The 13^th Century Lady Chapel, sometimes referred to as the ‘South Chapel’ and also as the ‘Chantry’ is set to one side of the Chancel, and has its own Altar set within a Sanctuary area.

The word "chapel", like the associated word "chaplain", came from the Latin capella, meaning a small cape such as one that was a relic of St. Martin of Tours. This cape travelled into battle with Frankish kings, being kept in a tent that came to be called the capella.  The term then came to be used for sanctuaries where Holy Relics were preserved and prayers said.  Also known as a ‘Mary’ or ‘Marian’ Chapel, a Lady Chapel  is a traditional English term for a chapel dedicated to "Our Lady", Mary, mother of Jesus. 

In the later medieval period, it was common for churches to have a chantry chapel in which a priest sang masses for the soul of the founder or others. At Geddington, it is possible a priest was employed to sing regular Masses for the soul of Queen Eleanor.  Such practices were abolished at the time of the Reformation, although today a Mass is still sung each December to commemorate Eleanor. 

This chapel was also called the “Squire’s Chapel”, reflecting its private ‘ownership’ over time by a series of local gentry.  By 1899 it was being said that: “At the east end of the south aisle was a chantry, formerly enclosed with open screens” – referring to a period before 1855 when all that was swept away in Sir George Gilbert Scott’s great re-ordering.

The Chapel East Window

The first thing most people notice on entering the chapel is the fine stained-glass window above the altar at the eastern end. The glass in this 4-light window is all by Sir Ninian Comper: the centre-right panel bearing the trademark wild strawberry with which, from 1903, he "signed" his windows in memory of his father, who had been stricken down when offering strawberries to children.  The inner two lights date from 1933, whilst the outer two were completed in 1954 but not installed until November 1957; with the Service of Dedication being held on 18^th May 1958.  Sir Ninian Comper was unable to be present for the dedication, but he did come to Geddington in August that same year. 

In the upper part of the window the left-hand light depicts the Virgin Mary with Jesus and St. John the Baptist as children; the central lights show The Annunciation; and the right-hand light shows Mary with St. James the Less (carrying a cudgel), St. Simon (carrying a saw) and St. Jude (carrying a boat) as children. 

In the lower part of the window, the left hand light shows Mary learning to read with St. Anne; the central lights depict The Nativity, with the shepherds and the Magi; while the right hand light shows Mary with the Risen Christ.  The top lights depict the sun, moon, and stars. 

The stonework of this window is very confusing, however. On either side are tall 13^th Century circular shafts similar to those flanking the main south door. The head of the window rests on these shafts but its shape resembles other windows in the church dating from the late 14^th or early 15^th Century, all of which suggests that (unless this is a very rare example of early Perpendicular style) the original 13^th Century window with its tracery was replaced leaving the earlier shafts for decorative effect.

The Patrick Window

The glass in this lancet window in the south-east corner of the Chapel dates from 1921 and is by Arthur Louis Moore (1849-1939) of Russell Square in London. 

It depicts St. Paul holding a sword and a book.  The dedication reads:

To the Glory of God and in loving memory of
Harry Arthur Patrick
who passed to higher service Jan 20^th  1920
after returning from India and Egypt.

Below this window there was once a small door (blocked up in 1855) that gave separate entry for priests and the private sponsors of the Chapel.

The stonework of this window is very confusing, however. On either side are tall 13^th Century circular shafts similar to those flanking the main south door. The head of the window rests on these shafts but its shape resembles other windows in the church dating from the late 14^th or early 15^th Century, all of which suggests that (unless this is a very rare example of early Perpendicular style) the original 13^th Century window with its tracery was replaced leaving the earlier shafts for decorative effect.

A Window Made in Geddington

The glass in the 15^th Century window (above) next to the Tresham Screen is the work of Joseph Freestone (1848-1929), who lived at 1-3 West Street in Geddington. Joseph was a talented man who, as well as being an artist in stained glass, was a member of the Royal Academy. He is buried in the churchyard with his nephew, Conrad William Henry Groves.

The window’s centre light shows Christ seated, speaking to Mary Magdalene, and in the background three men are feasting at a table.  The left-hand light shows Christ driving the money-changers from the Temple. The right-hand light depicts Christ standing by the sea shore with three apostles. 

The window’s inscription reads:  To the glory of God and in memory of E.R and L.M.S 1882  [identities currently unknown].

Sir Henry Dryden also recorded this monument in 1843.  By this time, the lowermost part of the effigy seems to have been lost, and the facial features and cherub appear less distinct. By 1899, a drawing by Christopher Markham shows it much as we see today, with the eyes only just discernible.

A letter dated c1736 in the Buccleuch Archive says that:

“a stone may be seen in the Chancel of Geddington Church with a figure of a man with a cup in his hand and round the stone ‘Hujus ecclesiae capellanus’.” [Chaplain of this Church].  

No trace of that inscription can be seen today, though it is conceivable that it may be hidden by the base of the adjacent timber screen.  This letter also says that local people believed the priest died while celebrating Mass, and other sources also report this belief. 

There is a reasonable possibility that the effigy commemorates William Glover, the Chaplain named in the Latin inscription as having died at the Feast of Corpus Christi in 1369.  This feast celebrates the ‘Body of Christ’ in the Eucharist.  So the local legend that he died whilst celebrating the Eucharist may well have some substance to it.

Its current stone slab is not the original, for Coventry brasses left a gap between the figures and the foot inscription. We do not know if the original work included children or other features. The middle portion of Anna's figure has gone and that of Henry's has had to be refixed. He has a knife in his girdle, and a rosary hangs from his waist (male rosaries of this period were generally straight). 

The Maydwell Brasses

Also in front of the chapel step are two floor brasses commemorating members of the Maydwell family. First (below) is a Memorial plaque to Thomas Maydwell (d 1624) & his wife Maria (d 1628). In 1588 this same Thomas Maydwell contributed £25 against the Spanish invasion. Thomas and Maria also once had a private pew bearing the inscription “TM.MM.1604”.

The second brass is a rectangular inscription plaque with a decoratively carved border, let into a stone slab. The inscription on brass reads:

Mrs Anna Maydwell Daughter of Thomas Maydwell Esq^re and Anna his wife.
Died November 2. 1767, in the 80^th Year of her age.

Still legible on the stone slab are the words: “Elizabe  Aged  In the”

The Medieval Screen

Separating the Lady Chapel from the Choir, and framed by arches, are two wooden screens, each about 2.4 metres high.  Best viewed from the Lady Chapel, the more westerly of these screens, backing on to the Choir Stalls in the Chancel, retains its central door and is the original medieval Chancel screen which is believed to date from the 14^th or possibly the 13^th Century. It was probably moved to the arch between the South Aisle and Lady Chapel in about 1618, when the Tresham screen replaced it in the Chancel arch. From there, it is thought to have been stored in the tower from 1855-56 and moved to its present position in 1906-07. 

Its companion screen to the east is a replica that was installed just before Easter 1907.  It was made by Samuel Townley and George Freeman of Geddington.

Book of Remembrance

A Book of Remembrance records past parishioners and their deceased loved ones and sits within a display case bearing a brass plaque inscribed:

Kindly donated by
THE FRIENDS OF GEDDINGTON CHURCH
From funds raised within the local community
October 2016

The Book was the gift of Phyllis Lockwood in memory of her husband, Charles.